This modern love story has lost Austen's 18th Century charms: BRIAN VINER reviews Sense and Sensibility

Jane Austen's seminal novel, Sense and Sensibility, celebrates its 215th anniversary this autumn, yet the latest screen adaptation by director Georgia Oakley fails to capture the delicate essence of the original work. Starring Daisy Edgar-Jones as the admirable Elinor Dashwood, the film attempts to translate 18th-century social constraints for a modern audience, but ultimately struggles to maintain the narrative nuance that defines Austen's literature. While visually stunning, the production often feels disconnected from the period's specific emotional landscape.

Critics have noted that the film, while blessed with fine performances, lacks the depth of Ang Lee's 1995 masterpiece. The screenplay by Diana Reid often telegraphs emotions that should remain subtextual, particularly regarding the burgeoning feelings between Elinor and Edward Ferrers, played by George MacKay. Unlike the 1995 version, where Emma Thompson’s Oscar-winning script masterfully navigated the era's restraint, this iteration leans into tactile, modern expressions of affection that undermine the later plot-driven misunderstandings.

Historically, Sense and Sensibility has been a staple of period drama, with various adaptations attempting to balance the sisters' contrasting temperaments. The story hinges on the 'sense' of Elinor and the 'sensibility' of her impulsive sister Marianne, played here by Esme Creed-Miles. The challenge for any modern director is to convey the gravity of 18th-century social obligations—such as long, stifling engagements—in an era of instant digital communication, a hurdle this film fails to clear effectively.

Ramifications of these directorial choices are felt throughout the film, most notably in the casting of Norwegian actor Herbert Nordrum as Colonel Brandon. Despite his suitability for the role's visual requirements, his Scandinavian accent creates an incongruity that distracts from the quintessentially English nature of the character. Furthermore, the inclusion of unnecessary action sequences, such as a duel between Willoughby and Brandon, disrupts the pacing and tone that audiences have come to expect from Austen's source material.

Looking ahead, the appetite for Jane Austen adaptations remains insatiable, with Dolly Alderton’s upcoming take on Pride and Prejudice set for a Netflix release in December. While this current version of Sense and Sensibility offers some aesthetic beauty, particularly through Arnaud Potier’s cinematography, it serves as a reminder that capturing Austen’s wit and social commentary is a delicate art. Future productions must prioritize the internal emotional architecture of the characters over modern stylistic flourishes to truly resonate with viewers.